Green Man Press

Green Man Press Croft W. - By Purling Streams - Soprano, Flute And Bc Fopc On Blow’s death in 1708 William Croft succeeded him not only as the organist of Westminster Abbey, but as Master of the Children of the Chapel Royal and Composer to the Chapel Royal. Thus he was, until Handel’s rise to fame, the most eminent musician in the land. His main duties as Composer were to provide anthems and services for the Chapel Royal. The composition of odes for New Year’s Day and the sovereign’s birthday was the responsibility of John Eccles, who had been appointed ‘Master of Musick’ in 1701. It appears however, that during the period 1712 to 1715 Croft and Handel were preferred over Eccles. Thus Handel was commissioned to write a birthday ode for Queen Anne, and later a Te Deum and Jubilate celebrating the Peace of Utrecht, 1713. In the same year Croft wrote a Birthday Ode for Queen Anne, and later another for King George. Later, Croft had the two odes published in a handsome volume entitled Musicus Apparatus Academicus. This was probably a ‘vanity’ publication, but Croft attributed its production to his friends’ insistence. In his introductory remarks, after acknowledging gratitude “to that Famous University for the favourable Reception they [the odes] there met with”, he goes on to say “From that time [of their performance] forward they have lain by neglected, as having done their Work and answered the end for which they were Compos’d, and had still done so, had not the Importunity of some Friends…..prevailed with me to make them publick.” It is claimed that, as a result, this is the earliest example of a doctoral submission to survive in its entirety. for soprano (e'flat-g''), oboe (or flute) and continuo Croft’s main output was sacred music, and apart from some celebratory Odes, he did not produce a great deal of secular music. This 'Song with a Hautboy' is one of three songs with instruments by Croft, collected together with works by Jeremiah Clarke and others in the manuscript in the Tenbury collection referred to above. for soprano (e'flat-g''), oboe (or flute) and continuo

15 € 99

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Green Man Press Purcell H. - O, O Let Me Weep ! - Soprano, Oboe (Recorder) And Bc The collection of songs by Henry Purcell entitled Orpheus Britannicus is in two volumes, published in 1698 and 1702 respectively. These include solo songs, duets and dialogues, and some songs for 3 voices. The publisher, Henry Playford, describes the two volumes as 'A/Collection/of all/the Choicest SONGS/for/One, Two and Three Voices/ Compos'd /By Mr. Henry Purcell'. None of the songs are long pieces; many were originally written for the stage, either as operatic songs or incidental music to a play, and so most of them had been published previously. Orpheus must have enjoyed moderately successful sales. The first volume ran to a second edition in 1702, and the second in 1711: both were reprinted in 1721. Frances Purcell, in dedicating the first volume to Lady Howard, pays tribute to Sir Robert Howard, whose Excellent Compositions were the Subject of his [Purcell's] last and best Performance in Musick. Robert Howard was co-author with John Dryden of The Indian Queen, performed in the year of Purcell's death. From Orpheus Britannicus for soprano (d'-g''), oboe (or recorder) and bc The Plaint O, O, let me Weep! is part of the masque in Act V of Purcell’s The Fairy Queen, where Juno appears and sings first the Epithalamium Thrice happy lovers, and then The Plaint. The main source for this song is Orpheus Britannicus. Peter Holman suggests that the quality and the range of the obbligato instrument suggest a recorder, rather than the violin indicated: if this were so it would be the only instance in Purcell’s works of his writing for a single recorder. Clifford Bartlett in his edition of the Fairy Queen suggests violin or oboe as the appropriate instrument. Accordingly, the piece is presented here as a song with oboe obbligato, which recorder players may also like to add to their repertoire.

Green Man Press Partition Classique - Haendel G. F. - Languia Di Bocca Lusinghiera - Soprano Et Instruments Recit & Aria for soprano (d'-g''), oboe, violin and continuo second edition - based on the autograph In 1710 Handel travelled first to Innsbruck, then to Hanover where he was appointed maestro di capella to the Elector (the future George I of England), and in the autumn travelled on to London. According to Ellen T Harris (op.cit. above) it is probable that Languia di bocca lusinghiera was composed in 1710 in Hanover, since the style of paper used by Handel suggests this. Harris also suggests that Languia di bocca lusinghiera may not be the fragment of a cantata, as is suggested in the Handelgesellschaft edition, but may have been intended for an opera. This is supported by the fact that, as Mayo points out, Handel reused the aria Dolce boccafor the aria Finte labbra in Il Pastor Fido (1712.)

Green Man Press Blow J. - And Is My Cavalier Return'd ? - Soprano, 2 Flutes A Bec Et Bc John Blow has been described as “the doyen of the school of English musicians of which Henry Purcell was the most brilliant.”(1) While Blow is chiefly famous for his operatic masque Venus and Adonis, and for his many church anthems, he wrote well over 100 secular songs, duets and trios, with and without instrumental settings; many of them appeared in Amphion Anglicus, published by Henry Playford in 1700. Others had previously been published in song collections like The Theater of Music, a substantial collection of songs by many contemporary composers, published in four volumes over the period 1685 – 1687 by Henry Playford and Robert Carr. It has been said of John Blow that “during his lifetime his renown approached that of Purcell …..his position as the most important composer among Purcell’s contemporaries is unquestionable; his true stature approaches that of Purcell himself more closely than has been generally acknowledged.”(2) As Peter Holman has pointed out, “2008, the 300th anniversary of the death of John Blow, is a good moment to reassess the music of an important English composer.” (3) (1)Shaw, Watkins: ‘Blow, John’ in the New Grove Dictionary of Music and Musicians, London, 1980. (2) Wood, Bruce: ‘Blow, John, §3: Works’ Grove Music Online (Accessed 16 February 2008) (3) Holman, Peter: John Blow 1649-1708, in NEMA, The Early Music Yearbook 2008, Ruxbury Publications, Hebden Bridge, 2008 For soprano (d'-b''), two recorders and continuo The present piece, And is my Cavalier return'd? (which has the heading A SONG with FLUTES), is among those many songs in Amphion Anglicus, and is unusual in having recorders as the obbligato instruments. It is possible that they were intended to remind the listener of the military sound of fifes. To speculate on which campaign the 'Cavalier' is due to return from, brings a salutary reminder of the politically troubled times that Blow lived in. Had Myrtilla's beau been slogging it out in Ulster in July 1690 against James II’s rebel army, or perhaps in Flanders' field in the summer of 1691 against the French? The reference to 'barbarous Sun and Dust' is a reminder that planned campaigns usually took place in summer. After a brief instrumental introduction the voice and recorders alternate in a sort of dialogue. After voice and instruments have portrayed Myrtilla's trembling, the war is suggested in clarion like arpeggios and trumpet calls, before a fmal rhythmic passage for voice alone as Myrtilla entices her beloved to winter with her.

Green Man Press Partition Classique - Campra A. - Silene - Cantata For Bass, Violin & Continuo Silène Cantata for bass, two violins and continuo The present work, Silène, is taken from his second book of cantatas, published in Paris in 1714. The text of Silène is by Antoine Danchet, a librettist much in demand at the time, particularly for the compositions of tragédies lyriques. Campra collaborated with him over a long period from Hésione (1700) to Achille et Deidamie (1735). Danchet based his libretto for Silène on the sixth Eclogue of Publius Virgilius Maro (Virgil, 70-19 BCE) the classical pastoral poet. In it two shepherd boys Chromis and Mnasyllus come across Silenus sleeping in a cave, and to tease him into singing for them, tie him up, abetted by the naiad Aegle. Awoken, Silenus promises them a song, and a quite different treat for the lovely naiad. Virgil’s original song is a hymn to pastoral bliss, but Danchet gives us a song extolling drink. Campra gives us an air abounding with Italianate vivacity.

19 € 79

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Green Man Press Dowland J. - Eight Lute Songs Or Duets - Soprano, Basse, Luth Et Viole Fopc I saw my Lady weepe Lacrimae. Flow my teares Sorrow sorrow stay Dye not before thy day Mourne, mourne, day is with the darkness fled Times eldest sonne, old age Then sit thee downe When others sing Venite Whilst some of these songs will be familiar, from a number of editions, as solo songs, each of these eight songs has, as well as the Canto part a texted Basso part. The songs were thus clearly intended, when the opportunity presented itself, to be sung as duets for soprano and bass voices, with either the lute alone, or with lute and viol. The intention of the present edition is to offer the eight two-part songs in a form in which it is easy and practical to perform them either as solo songs, or as duets, accompanied by the lute, with or without a viol. For those occasions when a lute is not available, a keyboard arrangement of the lute and bass parts is provided. It is not advocated to use this for performance, but it may prove a help for the singers in preparing the songs for performance. For the soprano and the lutenist, two copies of the canto part with the lute tablature are provided. For a lutenist who wishes also to sing the basso, we give the tablature again with the basso part. A separate basso part for a viol is included. Wherever possible, all the text is set under the voice parts; in practice this is feasible with up to four stanzas. Thus in song number 5, My thought this other night, the text for four of the verses is set out on the facing page. The sources of the texts are for the most part unknown, but it has been suggested that at least the first stanza of number 2, My love bound me with a kisse, is by Thomas Campion. The words of number 11, Over these brookes, are taken from Sidney’s Arcadia. (1) Holman, Peter; Dowland: Lachrimae (1604), Cambridge, 1999 (2)Poulton, Diana; John Dowland, London (2/1982), pp246-7

Green Man Press Purcell H. - Songs For Bass Solo From Orpheus Britannicus - Bass & Bc Let the dreadfull Engines You twice ten hundred Deities Bacchus is a pow'r divine The first two songs of this edition both appear in stage works; Let the dreadfull engines is sung by Cardenio in The Comical History of Don Quixote, i, and You twice ten hundred Deities belongs to Ismeron in The Indian Queen. The third song Bacchus is a Pow'r Divine is claimed by Henry Playford to be published for the first time in Orpheus Britannicus. Let the dreadfull engines is a mad song, Cardenio appearing 'in Ragged Cloaths, and in a Wild Posture' , his 'deranged mental state induced by the faithlessness of his beloved. Performers do not always appreciate that this famous song is a comic exploration of madness, but Purcell made the point unmistakably with ludicrous juxtapositions of declamatory passages in the grand manner and folk-like ballad tunes'. Ismeron's song comes as a response to the love-sick queen Zempoalla's demand that he summon up the God of Dreams to foretell her fate. This '….is the most awe-inspiring of Purcell's conjuring tricks.' In turn, the magician sings an invocation to the god, a series of expressive incantations of charms, and a climactic rising chromatic sequence, as the sleeping god arises. The song finishes paradoxically with a lullaby passage in triple time. Bacchus is a Pow'r Divine is, as its title might suggest, a drinking song. Nevertheless Purcell raises the song above the unworthiness of its text (and subject!) with the ingenuity of his word-painting. (The quotations are taken from Peter Holman's book Henry Purcell, Oxford, OUP (1994) p 215, quoting Curtis Price: Henry Purcell, p212-213

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Green Man Press Scarlatti A. - Bella Dama Di Nome Santa - Alto, Recorder, Two Violins And Bc Cantata da camera for alto (c'-d''), recorder, two violins and bc As a genre, the Italian chamber cantatas (Cantate per camera) are a treasure house of adventurous compositions. They were an enormously popular art form with musical connoisseurs (both amateur and professional). While our concept of “amateur” might suggest that composers simplified their ideas for less skilled musicians, this is far from the case in the chamber cantatas. Indeed, it was a form in which composers experimented with many innovative harmonic and structural ideas. This piece, Bella Dama di nome Santa, contains several moments that are both poignant and baffling - particularly in the recitatives where for example certain key words are underlined musically (such as the closing words of each). As in his operas, Scarlatti makes full use of the da capo form in the arias of this cantata. The colourful instrumentation sets the voice against flute (recorder) and violins. The texture is particularly enriched in the opening Introduttione by the addition of a second violin. The source for this work is the manuscript in the Biblioteca del Conservatorio di Musica San Pietro a Majella in Naples.

Green Man Press Cesti A. - Four Cantatas For Bass Tra l'orride pendici O dell'anima mia Chino la fronte Per l'ampio mar d'amore The sources for this edition are manuscripts in the Bayerische Staatsbibliothek, Munich (Mbs Mus.Ms. 1527, No. 3, Tra l'orride pendici, No. 5, the only source for O dell'anima mia, No. 15, Chino la fronte, and 16, Per l'ampio mar d'amore) and the Biblioteca Estense in Modena (MOe Mus.F.1350 for Chino la fronte, Mus.F.252 for Tra l'orride pendici, the only source for the 2nd and 3rd stanzas in the second section, and Per l'ampio mar d'amore). The source in the Bayerische Staatsbibliothek in München is a remarkable manuscript collection of sixteen cantatas and an arietta, all for bass voice, contained in a bound music book. The collection includes works by Pier Simon Agostini (1), Giovanni Antonio Boretti (1), Giovanni Legrenzi (2), Antonio Gianettini (1) and Alessandro Stradella (1). It appears from the paper, and the copyist's style, to be from the eighteenth century.

Green Man Press Bartlet J. - Three Songs With Lute & Viol Being the second part of A Booke of Ayres with a Triplicitie of Musicke (1606) With an arrangement for keyboard accompaniment These songs with lute and viol were published in 1606 by John Browne as part of a book of songs, with the title page A/BOOKE/ OF AYRES/ With a Triplicitie of/ Musicke,/ WHEREOF THE FIRST/Part is for the Lute or Orpharion, /and theViolde Gambo, and 4. Partes/ to sing, The second part is for 2 trebles to sing/ to the Lute and Viole, the third part is for/the Lute and one Voyce, and the/ Viole de Gambo./Composde by IOHN BARTLET/ Gentleman and Practitioner in this Arte. For those occasions when a lute is not available, a score for voices with a keyboard arrangement of the lute and viol parts is provided. It is not advocated to use this for performance, but it may prove a help for the singers in preparing the songs for performance. For the singers a score for the voices with lute tablature is provided, and a separate basso part for viol is included.

Green Man Press Baroque Anthology Vol.2 - Contre-Tenor Et Continuo Edited by Charles Brett Engraved by Ashley Harries for counter-tenor with realised continuo Was ist unser Lebensstand? Johann Erasmus Kindermann Komm, Seele, Jesu Leiden Johann Wolfgang Franck O angenehme Nacht Johann Wolfgang Franck Komm, süsser Tod Johann Sebastian Bach Jesus, unser Trost und Leben Johann Sebastian Bach In the black, dismal dungeon of despair Henry Purcell Sabina has a thousand charms John Blow Sleep downy sleep Pelham Humfrey Be welcome then, great Sir Henry Purcell Young Coridon and Phillis Jeremiah Clarke This anthology comprises twenty songs, five each from Italy, France, Germany and England. A variety of composers is represented, from great masters, like Bach, Monteverdi and Purcell, to many lesser-known composers of the Baroque period - Humfrey, Lambert, Gilles, Kindermann and others. All are presented in new editions, with freshly composed realisations of the continuo. The songs are varied in difficulty, and should appeal to many counter-tenors from students to professionals.

22 € 52

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Green Man Press Sscarlatti A. - E Perche Non Seguite O Pastorelle - Countertenor/alto, Two Violins, Two Flutes/recorders And Bc Fopc Alessandro Scarlatti’s influence was immense both through his pupils (such as Hasse and Geminiani) and his son, Domenico Scarlatti (born in 1685 and later also his pupil). Alessandro (1660-1725) is of the generation that precedes Bach and Handel (who were both born in the same year as his son Domenico). His musical career was focused in Rome and Naples. He is regarded as the Father of Neapolitan opera since he was the key figure in the development of the operatic elements in particular the arias, recitatives and in the use of the orchestra. He composed 115 operas and many other works – including oratorios, Masses, madrigals, concerti grossi and chamber cantatas (of which he wrote about 600). For countertenor/alto (g-d''), 2 violins, 2 flutes/recorders and bc The present cantata comes from the collection of the Abbato Santini (1778-1861) which is in the care of the Diözesanbibliothek Münster. This cantata , very confidently ascribed at the head of the first folio as “Del Signe Alesso Scarlatti”, and titled “Cantata /con Violini, e Flauti”, is the first in the manuscript MÜs HS 3975. It is followed by the cantatas Mentre Clori la bella and Augellin, vago e canoro, well accepted as by Alessandro Scarlatti, both of which are available in the Green Man Press edition. It is curious therefore that this cantata, E perche non seguite o Pastorelle, is not listed in Grove among the cantatas of Alessandro Scarlatti, nor as a work of doubtful attribution, and the work is listed neither in Hanley nor in Rostirolla . This attractive cantata for a countertenor or alto (the ‘persona’ is a love-lorn man), follows the usual pattern of alternating recitative and aria, but is introduced with a generous sinfonia in three sections, slow-fast-slow. The final aria has as a ritornello a graceful instrumental minuet. The scoring for two violins and two flauti is unusual: only a few of the cantatas by Scarlatti have this many obbligato instruments, and none have this combination. This instrumentation provides plenty of rich and lively material. While it is usual to be able to take flauti to mean recorders, the second flauto part has one bar in the sinfonia, and four in the first aria, which are too low for the treble recorder. However the second aria’s flauto solo part is typical writing for the treble recorder. Perhaps the second instrument could be a tenor recorder.

Green Man Press Scarlatti A. - Three Cantatas With Recorders Fopc Three Cantatas with Recorder Edited by Barbara Sachs For soprano (d'-a''), two recorders and bc Augellin, vago e canoro Filli, tu sai s'io t'amo Mentre Clori la bella Augellin, vago e canoro, in D minor, has three da capo arias, all in triple metres, separated by recits. The recorders introduce or echo the voice in the first aria, and conclude the second aria which is without them, and provide a totally independent accompaniment throughout the last aria. Syncopations make the second and third arias as unpredictable as the vagaries of the little bird. Filli tu sai ch’io t’amo, in C major, reverses the structure, framing two da capo arias between three very short recits. In the arias the two recorders alternate with the solo voice, playing in very modern trio-style thirds (and in passages labelled unisoni). The singer is graciously insistent while berating Phyllis for not recognizing what it means to love. Mentre Clori la bella, in C minor, is strikingly without any hint of da capo aria form. It presents a Cloris determined to have no more to do with Fileno, who, however, is listening to this outburst. Her state of mind is not quite so linear, though, and the three-part structure explains her dilemma. The opening recit is mainly by the narrator, the first aria, with recorders echoing the voice and harmonizing the cadences, is sung twice, (warning him to expect nothing more of her), followed by an instrumental ritornello. A long recit and an aria – repeated in its entirety, but without recorders, and followed by an instrumental ritornello – states that she had loved him once, but that after whatever he has done, she can only hope now to be revenged. A short recit expresses some doubt, and the following aria with recorders has no repeat, though its four lines are set twice, promising a retraction of her disdain. In this cantata Neapolitan 6ths underline all the most dramatic words (sospiri; folle t’inganni; temprati i sdegni).

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Green Man Press Pepusch J.c. - Five Cantatas With Recorder Fopc For soprano/tenor (c'-a''), recorder, and bc Corydon Love frowns in beateous Myra's Eyes Cleora sat beneath a shade When Loves soft passion Menalcas once the gayest Swain These five English cantatas are elegant and entertaining pieces; the characters Corydon, Menalcas , Thyrsis, from Virgil's Georgics are joined by nymphs and shepherds from the English madrigal tradition. While all the cantatas can be sung by a soprano, No 2, Love frowns in beauteous Myra's eyes, and No 4, When Love's soft passion would also be appropriate for a tenor, because of the 'persona' of the singer.